https://www.high-endrolex.com/18

Might to Release Abyss Aug. 26; Album Details & Teaser Posted

Posted in Whathaveyou on July 11th, 2022 by JJ Koczan

German spousal duo MightAna Muhi on bass, vocals, keys, and Sven Missullis on drums, guitar and more vocals — made their self-titled debut (review here) in 2020 through Exile on Mainstream, surfacing after a split of their former, more punk-leaning trio Deamon’s Child. There’s a teaser that came in with the press release below that runs all of — wait for it — 13 seconds, and somewhat incredibly, it’s actually a pretty solid tease. Atmospheric and volatile, it may not give you as much of an idea of what’s coming as, say, a whole track, but it’s got me intrigued at least.

Plus, theirs was a first album that seemed like they could go anywhere from it, so to read below that maybe that’s how it’s happening is kind of exciting. Like damn near everything Andreas Kohl puts out on Exile on Mainstream, I feel like you can approach without knowing exactly what’s up and still find something satisfying when you get there.

All of which I guess is to say I already put in the request to stream the album the day before it comes out. And I didn’t do it on the strength of the artwork alone, but I could’ve.

From the PR wire:

MIGHT Abyss

MIGHT: German Doom/Post-Rock Duo To Release Second LP, Abyss, Through Exile On Mainstream In August; Cover Art, Track Listing, Teaser, And More Posted

Exile On Mainstream presents Abyss, the second album from Hanover, Germany-based atmospheric doom/post-rock duo MIGHT, confirming the album for late August release, and issuing its cover art, track listing, a teaser, and more.

Founded in January 2020 by Ana Muhi (vocals, bass, piano) and Sven Missullis (vocals, guitar, drums), MIGHT’s eponymous debut LP was recorded in the early days of the Covid-19 pandemic, the album introducing the band’s blend of elements from various musical genres fused in their very own intoxicating, organic sound. Between instrumental frenzy and gentle, fragile acoustic parts, an exchange takes place that musically brings together different genres: black metal, sludge, doom, post-rock, shoegaze. The whole thing happens without any showmanship, loud and quiet in perfect complement, the power of love as an answer to life’s questions. As large as the steps may seem at times, they always remain comprehensible. The common thread consists of the consistent and honest handwriting of the two – an uncompromising couple.

Unfortunately, due to the pandemic, MIGHT could not play live as much as they wanted to in support of the debut LP, but they have made waves with some very special performances over the past year or more. Highlights so far include the 2021 Roadburn Redux Festival appearance, where MIGHT played their second concert ever, the 2022 Exile On Mainstream Roadshows, as well as support for Wiegedood and the 2022 Rotormania Festival appearance. Live, the couple takes a unique approach, with Missullis performing drums while broadcasting video projections of him also performing the guitar parts, doubling his appearance, and thus becoming a trio.

MIGHT’s Abyss was entirely recorded, mixed, and mastered by the band. The album’s cover is fitted with a 1976 oil painting by Polish artist Zdzisław Beksiński (February 24, 1929 – February 21, 2005). The impression of the painting, as oppressive as it may seem at first glance, nevertheless radiates a warming confidence and security. This makes the image a fantastic visualization of MIGHT’s music.

Delicate piano sounds are being buried under thick, viscous lava of distorted guitars and a mean bass. Hovering above it, Ana’s subtle, yet haunting voice connects tragedy with hope in a world gone haywire. Or seems like it. Sometimes she must scream.

Abyss will be released through Exile On Mainstream on August 26th, pressed on LP and CD and available on all digital services. Fans of Chelsea Wolfe, Emma Ruth Rundle, Jarboe, Dolch, Treedeon, Neurosis, Ides Of Gemini, and Black Mare should not pass MIGHT by.

Abyss Track Listing:
1. Naked Light
2. Lost
3. Abysses
4. Circles
5. Who’s Ahead
6. Tightrope Walk
7. How Sad A Fate
8. Shrine
9. Lucky Me
10. Dear Life
11. Holy Wars

MIGHT Live:
9/09/2022 South Of Mainstream Festival – Berlin, DE
11/05/2022 – Bei Chez Heinz – Hanover, DE

http://www.might.earth
https://might.bandcamp.com
https://www.facebook.com/might.earth

https://www.instagram.com/exileonmainstreamofficial/
http://www.mainstreamrecords.de

Might, Abyss Teaser

Tags: , , , , ,

Quarterly Review: Khemmis, Low Orbit, Confusion Master, Daemonelix, Wooden Fields, Plaindrifter, Spawn, Ambassador Hazy, Mocaine, Sun Below

Posted in Reviews on December 14th, 2021 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

Day two, huh? Don’t know about you, but I’m feeling positively groovy after yesterday’s initial round of 10 records en route to 50 by Friday, and maybe that’s all the better since there’s not only another round of 10 today, but 50 more awaiting in January. Head down, keep working. You know how it goes. Hope you find something cool in this bunch, and if not, stick around because there’s more to come. Never enough time, never enough riffs. Let’s get to it.

Quarterly Review #11-20:

Khemmis, Deceiver

Khemmis Deceiver

Denver’s Khemmis are everything an American heavy metal band should be in 2021. The six-song Deceiver is the fourth LP from the band — now comprised of guitarist/vocalist Ben Hutcherson, guitarist/vocalist Phil Pendergast and drummer Zach Coleman — and it soars and crushes in kind. It is no more doom than thrash or epic traditional metal, with sweeping choruses from opener “Avernal Gate” onward, and yet it is intense without being boorish, accessible without being dumbed-down, dynamic in presentation. It commits neither to genre nor structure but is born of both, and its well-timed arrangements of more extreme vocalizations on “House of Cadmus” and “Obsidian Crown” are no less vital to its sonic persona than the harmonies surrounding. Even more here than on 2018’s Desolation (review here), Khemmis sound like masters of the form — the kind of band who’d make a kid want to pick up a guitar — and are in a class of their own.

Khemmis on Facebook

Nuclear Blast store

 

Low Orbit, Crater Creator

Low-Orbit-Crater-Creator

Somebody in Toronto’s Low Orbit likes Dr. Who, as signaled by inclusions like “Tardis” and “Timelord” on the trio’s third album, Crater Creator. Also huge riffs. Working with their hometown’s house helmer Ian Blurton (Rough Spells, Future Now, Biblical, etc.), guitarist/vocalist Angelo Catenaro, bassist Joe Grgic and drummer Emilio Mammone proffer seven songs across two-sides bent toward largesse of chug and spaciousness of… well, space. The opening title-track, which moves into the lumbering “Tardis” and the driving side-A-capper “Sea of See,” sets an expectation for massive tonality that the rest of what follows meets with apparent glee. The fuzz-forward nature of “Monocle” (also the cowbell) feels straightforward after the relative plod of “Empty Space” before it, but “Wormhole” and “Timelord” assure the mission’s overarching success, the latter with aplomb fitting its finale position on such a cosmically voluminous offering. Craters accomplished, at least in eardrums.

Low Orbit on Facebook

Pink Tank Records website

Olde Magick Records on Bandcamp

 

Confusion Master, Haunted

CONFUSION MASTER Haunted

One assumes that the Cthulhu figure depicted breaking a lighthouse with its cthrotch on the cover art of Confusion Master‘s Haunted is intended as a metaphor for the coming of the German four-piece’s engrossing psychedelic doom riffery. The band, who made their debut with 2018’s Awaken (review here), owe some debt to Electric Wizard‘s misanthropic stoner nihilism, but the horrors crafted across the six-song/56-minute sophomore outing are their own in sound and depth alike, as outwardly familiar as the lumbering central riff of “The Cannibal County Maniac” might seem. It’s amazing I haven’t heard more hype about Confusion Master, with the willful slog of “Jaw on a Hook”‘s 11 minutes so dug in ahead of the sample-topped title-track you can’t really call it anything other than righteous in its purpose, as filthy as that purpose is on the rolling “Casket Down” or “Under the Sign of the Reptile Master.” Shit, they don’t even start vocals until minute six of 10-minute opener “Viking X.” What more do you want? Doom the fuck out.

Confusion Master on Facebook

Exile on Mainstream website

 

Daemonelix, Devil’s Corkscrew

Daemonelix Devils Corkscrew

Sludge metal punishment serves as the introductory statement of Los Angeles’ Daemonelix, whose Devil’s Corkscrew EP runs just 18 minutes and four songs but needs no more than that to get its message across. The band, led by guitarist Derek Phillips, are uniformly brash and scathing in their composition, harnessing the punkish energy of an act like earlier -(16)- and bringing it to harsher places altogether, while still — as the motor-ready riff of “In the Name of Freedom” demonstrates — keeping one foot in heavy rock traditions. Vocalist Ana Garcia Lopez is largely indecipherable in her throaty, rasping growls on opener “Daemonelix” and the subsequent “Raise Crows,” but “In the Name of Freedom” has a cleaner hook and closer “Sing for the Moon” brings in more atmospherics during its slower, more open-feeling verses, before crushing once more in a manner that’s — dare I say it? — progressive? Clearly more than just bludgeoning, then, but yes, plenty of that too.

Daemonelix on Facebook

Metal Assault Records on Bandcamp

 

Wooden Fields, Wooden Fields

wooden fields wooden fields

While I’ll admit that Wooden Fields had me on board with the mere mention of the involvement of Siena Root bassist Sam Riffer, the Stockholm trio’s boogie-prone seven-song self-titled debut earns plenty of allegiance on its own, with vocalist/guitarist Sartez Faraj leading the classically-grooving procession in a manner that expands outward as it moves through the album’s tidy 38 minutes, taking the straight-ahead rush of “Read the Signs” and “Shiver and Shake” into the airier-but-still-grounded “Should We Care” before centerpiece “I’m Home” introduces a jammier vibe, drummer Fredrik Jansson Punkka (Witchcraft, etc.) seeming totally amenable to holding the track together beneath the extended solo. The transition works because no matter how far they go in “Don’t Be a Fool” or “Wind of Hope,” Wooden Fields never lose the thread of songcraft they weave throughout, and the melodies of closer “Endless Time” alone establish them as a group of marked potential, regardless of pedigree and the familiarity of their stylistic foundation.

Wooden Fields on Facebook

Argonauta Records website

 

Plaindrifter, Echo Therapy

Plaindrifter Echo Therapy

Surging forth with lush progressive heavy psychedelic rock, Plaindrifter‘s debut full-length, Echo Therapy, showcases an awareness of the context in which it arrives — which is to say the German three-piece seem to be familiar with the aesthetic tropes they’re working toward. Still, although their emphasis on bringing together melody and heft may result in flashes of Elder in the extended “Prisma” or the closer “Digital Dreamcatcher” or Elephant Tree in “New World,” with opener “M.N.S.N.” making its impression as much with ambience as tonal weight and centerpiece “Proto Surfer Boy” sneakily executing its linear build in space-creating fashion before its long fadeout, there’s an individual presence in the material beyond a play toward style, and from what they offer here, it’s easy to imagine their forward-thinking course will lead to further manifest individualism in subsequent work. That may be me reading into the possibilities cast by the melodies of “M.N.S.N.” and in the quieter break of “Proto Surfer Boy,” but that’s plenty to go on and by no means the sum of Echo Therapy‘s achievements.

Plaindrifter on Facebook

Plaindrifter on Bandcamp

 

Spawn, Live at Moonah Arts Collective

Spawn Live at Moonah Arts Collective

The kind of release that makes me want to own everything the band has done, Spawn‘s Live at Moonah Arts Collective enraptures with four tracks of meditative psychedelic flow, beginning with “Meditation in an Evil Temple” and oozing patiently through a cover of “Morning of the Earth” — from the 1971 Australian surf film of the same name — before “Remember to Be Here Now” issues that needed reminder to coincide with the drift that would otherwise so easily lead the mind elsewhere, and the 13-minute “All is Shiva” culminates with a spiritually-vibing wash of guitar, sitar, bass, drums, keyboard, tabla and tantric vocal repetitions. Based in Melbourne, the seven-maybe-more-piece outfit released a studio EP in 2018 on Nasoni Records (of course) and otherwise have a demo to their credit, but the with the sense of communion they bring to these songs, studio or live doesn’t matter anymore. At just under half an hour, it’s a short set — too short — but with the heavier ending of “All is Shiva,” there’s nothing they leave unsaid in that time. This is aural treasure. Pay heed.

Spawn on Facebook

Spawn on Bandcamp

 

Ambassador Hazy, Glacial Erratics

Ambassador Hazy Glacial Erratics

Formed as a solo-project for Sterling DeWeese, the lo-fi experimentalist psych of Ambassador Hazy‘s Glacial Erratics first showed up in 2020 after four years of making, and with a 2021 vinyl release, the 14-track/39-minute offering would seem to be getting its due. DeWeese — sometimes on his own, sometimes backed by a full band or just drummer Jonathan Bennett — delights in the weird, finding a place somewhere between desert-style drift (his vocals remind at times of mellower Mario Lalli, but I doubt that’s more than coincidence), folk and space-indie on “Ain’t the Same No More,” which is somehow bluesy while the fuzzy “Lucky Clover” earlier taps alterna-chic bedroom gaze and the subsequent “Passing into a Grey Area” brings in full backing for the first time. Disjointed? Yeah, but it’s part of the whole idea, so don’t sweat it. No single song tops four minutes — the Dead Meadowy “Sleepyhead” comes closest at 3:51 — and it ends with “The World’s a Mess,” so yeah, DeWeese makes it easy enough to roll with what’s happening here. I’d suggest doing that.

Ambassador Hazy on Facebook

Ambassador Hazy on Bandcamp

 

Mocaine, The Birth of Billy Munro

Mocaine The Birth of Billy Munro

A wildly ambitious debut — to the point of printing up a novella to flesh out its storyline and characters — The Birth of Billy Munro follows a narrative spearheaded by Mocaine guitarist/vocalist Amrit Mohan and is set in the American South following its title-character through a post-traumatic mental decay with material that runs a gamut from progressive metal to psychedelia to classic Southern heavy rock and grunge and so on. In just 43 minutes and with a host of dialogue-driven stretches — also samples like Alec Baldwin talking about his god complex from 1993’s Malice in the soon-to-be-churning “Narcissus” — the plot is brought to a conclusion on “The Bend,” which touches lighter acoustics and jazzy nuance without letting go entirely of the ’90s flair in “Psylocybin” a few tracks earlier, as far removed from the swaggering “Pistol Envy” as it seems to be, and in fact is. However deep the listener might want to explore, Mocaine seems ready to accommodate, and one only wonders whether the trio will explore further tales of Billy Munro or move on to other stories and concepts.

Mocaine on Facebook

Mocaine on Bandcamp

 

Sun Below, Sun Below

sun below sun below

Toronto riffers Sun Below would like to be your entertainment for the evening, and they’d probably prefer it if you were also stoned. Their 71-minute self-titled debut long-player arrives after a series of three shorter offerings between 2018-2019, and after the opening “Chronwall Neanderhal,” the 14-minute “Holy Drifter” lets you know outright how it’s gonna go. They’re gonna vibe, they’re gonna jam, they’re gonna riff, and your brain’s gonna turn to goo and that’s just fine. Stoner is as stoner does, and whether that’s on a shorter track like “Shiva Sativa,” the shuffling “Kinetic Keif” and the rumbling “Doom Stick,” or the 18-minute “Twin Worlds” that follows ahead of the 12-minute closer “Solar Burnout,” one way or the other, you get gargantuan, post-Pike riffage that knows from whence its grooves come and doesn’t care it’s going to roll out an hour-plus anyway and steamroll lucidity in the process. Is that a bongrip at the end of “Solar Burnout” or the end of the world? More to the point, can’t it be both?

Sun Below on Facebook

Sun Below on Bandcamp

 

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Quarterly Review: Sons of Alpha Centauri, Doctors of Space, River Flows Reverse, Kite, Starless, Wolves in the Throne Room, Oak, Deep Tomb, Grieving, Djiin

Posted in Reviews on September 30th, 2021 by JJ Koczan

the-obelisk-fall-2016-quarterly-review

Today we pass the halfway point of the Fall 2021 Quarterly Review. It’s mostly been a pleasure cruise, to be honest, and there’s plenty more good stuff today to come. That always makes it easier. Still worth marking the halfway point though as we move inexorably toward 70 releases by next Tuesday. Right now, I just wish my kid would take a nap. He won’t.

That’s my afternoon, I guess. Here we go.

Quarterly Review #31-40:

Sons of Alpha Centauri, Push

sons of alpha centauri push

Never ones to tread identical ground, UK outfit Sons of Alpha Centauri collaborate with Far/Onelinedrawing vocalist Jonah Matranga and Will Haven drummer Mitch Wheeler on Push, their material given relatively straight-ahead structural purpose to suit. I’m a fan of Sons of Alpha Centauri and their willingness to toss out various rulebooks on their way to individualized expression. Will Push be the record of theirs I reach for in the years to come? Nope. I’ve tried and tried and tried to get on board, but post-hardcore/emo has never been my thing and I respect Sons of Alpha Centauri too much to pretend otherwise. I admire the ethic that created the album. Deeply. But of the various Sons of Alpha Centauri collaborations — with the likes JK Broadrick of Godflesh or Gary Arce of Yawning Man — I feel a little left out in the cold by these tracks. No worries though. It’s Sons of Alpha Centauri. I’ll catch the next one. In the meantime, it’s comforting knowing they’re doing their own thing as always, regardless of how it manifests.

Sons of Alpha Centauri on Facebook

Exile on Mainstream Records website

 

Doctors of Space, Studio Session July 2021

Doctors of Space Studio Session July 2021

The programmed drums do an amazing amount to bring a sense of form to Doctors of Space‘s ultra-exploratory jamming. The Portugal-based duo combining the efforts of guitarist/programmer Martin Weaver (best known for his work in Wicked Lady) and synthesist/keyboardist Scott “Dr. Space” Heller of Øresund Space Collective (and many others) have been issuing jams by the month during a time largely void of live performances, and their get-together on July 30 resulted in seven pieces, four of which make up the 62 minutes of Studio Session July 2021. It’s hard to pick a highlight between the mellower, almost jazzy flow and cosmic wash of the 19-minute “Nighthawk,” and the more urgent setting out that “They Are Listening” provides, the more definitively space-rocking “Spirit Catcher” closing and “Bombsheller” with what feels like layers upon layers of swirl with keyboard lines cutting through, capping with a mellotron chorus, but any one of them is a worthy pick, and that’s a good problem to have.

Doctors of Space on Bandcamp

Space Rock Productions website

 

River Flows Reverse, When River Flows Reverse

River Flows Reverse When River Flows Reverse

In its readiness to go wherever the spirit of its eight included pieces lead, as well as in its openness of arrangement and folkish foundation, River Flows Reverse‘s first offering, the semi-eponymous When River Flows Reverse, reminds of Montibus Communitas. That is a compliment I don’t give lightly or often. The hour-long 2LP sees issue as part of the Psychedelic Source Records collective — Bence Ambrus and company — and with members of Indeed, Lemurian Folk Songs, Hold Station, on vocals and trumpet and banjo, etc., and a variety of instruments handled by Ambrus himself, the record is serene and hypnotic in kind, finding an outbound pastoralism that is physical as much as it’s swirling in mid-air. “Oriental Western” taps 16 Horsepower on the shoulder, but it’s in a meditation like “At the Gates of the Perennial” or the decidedly unraging “Rain it Rages” that the Hungarian outfit most seem to find themselves even as they get willfully lost in what they’re doing. Beautiful.

Psychedelic Source Records on Facebook

Psychedelic Source Records on Bandcamp

 

Kite, Currents

kite currents

Even amid the lumbering noise rock extremity of the penultimate “Heroin,” Kite manage to work in a willfully lunkheaded Melvins riff. Cheers to the Oslo bashers-of-face on that. The second long-player from the Oslo-based trio featuring members of Sâver, Dunderbeist, Stonegard and others sets out in moody form with “Idle Lights” building to a maddening tension that “Turbulence” hits with a brick. Though not void of atmosphere or complexity in its construction, the bulk of Currents is harsh, a punishment derived from sludge-thickened post-hardcore evidenced by “Ravines” stomping into the has-clean-vocals centerpiece title-track, but it’s also clear the band are having fun. Closer “Unveering Static” brings back the non-screaming shouts, but it’s the earlier longest track “Infernal Trails” that perhaps most readily encapsulates their work, variable in tempo, building and crashing, chaotic and raging and lowbrow enough to be artsy, but still given an underpinning of heft to match any and all aggression.

KITE on Facebook

Majestic Mountain Records webstore

 

Starless, Hope is Leaving You

Starless Hope is Leaving You

A sophomore full-length from the Chicago-based four-piece of guitarist/vocalist Jessie Ambriz and Jon Slusher, bassist/vocalist Alan Strathmann and drummer/vocalist Quinn Curren, StarlessHope is Leaving You runs a melancholy gambit from the prog-metal aggression of “Pendulum” to “Forest” reimagining Alice in Chains as a post-rock band, to soaring escapist pastoralia in “Devils,” to the patient psychedelic unfurling of “Citizen,” all the while remaining heavy of one sort or another; sonic, emotional, whatever it might be. Both. Cellist Alison Chesley (Helen Money) guests on “Forest” and the devolves-into-chaotic-noise closer “Hunting With Fire,” and Sanford Parker produced, but the band’s greatest strengths are the band itself. Hope is Leaving You isn’t going to be the feel-good hit of anyone’s summer in terms of general mood or atmosphere, but it’s the kind of release that’s going to hit a particular nerve with some who take it on, and I think I might be one of them.

Starless on Facebook

Starless on Bandcamp

 

Wolves in the Throne Room, Primordial Arcana

wolves in the throne room primordial arcana

Some 15 years on from their landmark first album, Olympia, Washington’s Wolves in the Throne Room make their debut on Relapse Records with duly organic stateliness on Primordial Arcana, bringing their particular and massively influential vision of American black metal to bear across tracks mostly shorter than those of 2017’s Thrice Woven (review here) — exceptions to every rule: the triumphant 10-minute “Masters of Rain and Storm” — as drummer/keyboardist/vocalist Aaron Weaver, guitarist/vocalist Nathan Weaver, guitarist/vocalist Kody Keyworth and guest bassist/vocalist Galen Baudhuin readily draw together ripping blasts with cavernous synth, acoustic guitar, percussion and whatever the hell else they want across eight songs and 49 minutes (that includes the ambient bonus track “Skyclad Passage,” which follows the also-ambient closer “Eostre”) for an immersive aesthetic victory lap that’s all the more resonant for being the first time they’ve entirely produced themselves. One hopes and suspects it won’t be the last. Their sixth or seventh LP depending on what one counts, Primordial Arcana sounds like the beginning of a new era for them.

Wolves in the Throne Room on Facebook

Relapse Records website

 

Oak, Fin

oak fin

London heavy rockers Oak perhaps ultimately did themselves a disservice by not putting out a full-length during their time together. Fin, like the end screen of a fancy movie, arrives as their swansong EP, their fourth overall in the last six years, and is made up mostly of two five-plus-minute tracks in “Beyond…” and “Broken King,” with the minute-long intro “Bells” at the start. With the soaring chorus of “Beyond…” led by vocalist Andy Valiant with the backing of bassist/mellotronist Richard Morgan and guitarist/synthesist Kevin Germain and the shove of Alex De La Cour‘s drums at their foundation, the clarity of production by Wayne Adams at Bear Bites Horse (Green Lung, Terminal Cheesecake, etc.) and the gang shouts that rouse the finish of “Broken King,” Oak end their run sounding very much like a band who had more to say. If their breakup really is permanent, they leave a lot of potential on the proverbial table.

Oak on Facebook

Oak on Bandcamp

 

Deep Tomb, Deep Tomb

Deep Tomb Deep Tomb

By the time Los Angeles’ Deep Tomb get into the stomp of the 12-minute finishing track on their four-song/29-minute self-titled, they’ve already well demonstrated their propensity for scathing, harsh sludge. Opener “Colossus” has some percussion later in its seven minutes that sounds like something falling down stairs — maybe those are just the toms? — but it and the subsequent “Ascension From the Devoured Realm” aren’t exactly shy about where they’re coming from in their pummel and fuckall, and even though “Endless Power Through Breathless Sleep” starts out mellow and ends minimalist, in between it sounds like a they’re trying to use amps to remove limbs. And how much of “Lord of Misery” is song and how much is noisy chaos anyway? I don’t know. Where’s the line from one to the other? When does the madness end? And what’s left when it does? The broken glass from tube amps and soured everything.

Deep Tomb on Facebook

King of the Monsters Records webstore

 

Grieving, Songs for the Weary

Grieving Songs for the Weary

A band that, sooner or later, somebody’s going to refer to as “heavyweights.” Perhaps it’s happened already. Justifiably, in any case, given the significant heft Poland’s Grieving bring to their riff-led fare on their first LP, built on a foundation of traditionalist doom but not necessarily eschewing modern methods in favor thereof throughout its six component tracks — the three-piece of vocalist Wojciech Kaluza, guitarist/bassist/synthesist Artur Ruminski and drummer Bartosz Licholap are willfully Sabbathian even in the shuffle of “This Godless Chapel” but neither are they shy about engaging more psychedelic spaces on “Foreboding of a Great Ruin,” however grounding the clear-headed melodies of the vocals might be, and the riff at the core of the hard-hitting “A Crow Funeral” would in another context be no less at home on a desert rock record. Especially as their debut, Songs for the Weary sounds anything but.

Grieving on Facebook

Interstellar Smoke Records webstore

Godz ov War Productions webstore

 

Djinn, Meandering Soul

Djiin Meandering Soul

Heavy blues is at the core of Djiin‘s second album, Meandering Soul, but the Rennes, France, four-piece meet it head-on with both deeper weight and broader atmospherics, and lead vocalist Chloé Panhaleux owes as much to grunge as to post-The Doors brooding, her voice admirably organic even unto cracking in “Red Desert.” With the backing of guitarist Tom Penaguin, bassist Charlélie Pailhes and drummer Allan Guyomard, Djiin are no less at home in the creeping lounge guitar stretches of “Warmth of Death” than in the bursts of volume in opener “Black Circus” or the what-the-hell-just-happened-to-this-song prog jam out that caps the erstwhile punk of finale “Waxdoll.” Clearly, Djiin go where they want, when they want, from the folkish harmonies of “The Void” to the far-less-hinged crushing aggro “White Valley,” each piece offering something of its own on the way while feeding into the immersion of the whole.

Djiin on Facebook

Klonosphere Records website

 

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Confusion Master to Release Haunted Nov. 19

Posted in Whathaveyou on September 22nd, 2021 by JJ Koczan

confusion master

German four-piece Confusion Master made it plenty easy to dig their 2018 debut, Awaken (review here), and based entirely on the all-of-one-minute I’ve heard of the follow-up, Haunted, I expect no less from it. The ever-significant backing of Exile on Mainstream is, of course, part of that, but I think if you take a look at the cover art, a look at that upside-down cross serving as the ‘t’ in the band’s logo, a look at the Cthulhu art — on theme with the debut, as it happens — and then either listen to the first record or just take on that minute as it is streaming below, you can probably use some context clues to figure out where these dudes are coming from. They’re coming from riff church. Mass just let out.

Insert some clever line about Tony Iommi as the one true god here.

In any case, check out the fan edition of the impending, which not only brings the four-track full-length itself, but an extra 12″ single and a live album on tape. I don’t know if that’s a fan edition or a make-you-a-fan edition, but it’s a pretty killer package anyhow. But don’t listen to me. I’m biased in favor of cool shit. I’m sure someone out there will find something to complain about with it. “Ugh, why you gotta riff so heavy?” and so on.

From the PR wire:

CONFUSION MASTER Haunted

CONFUSION MASTER: German Doom Quartet To Release Second LP, Haunted, Through Exile On Mainstream In November; Teaser, Cover Art, And More Posted

Exile On Mainstream presents Haunted, the second album from German doom/sludge metal quartet CONFUSION MASTER. Confirming the album for November release, the label has posted its cover art, track listing, a brief teaser, and other details.

Uniting four musicians drawn together from across varied punk and metal circuits, unified through their shared love for sound, misanthropy, DIY values, and vintage gear, the members of CONFUSION MASTER have earned merits in underground stalwart outfits such as Cyness, Wojczech, Bad Luck Rides On Wheels, and Aequatorkaelte.

CONFUSION MASTER’s debut album, Awaken, was released through Exile On Mainstream in 2018, and having earned raving feedback from the international doom and stoner rock crowd, the group proved itself as a veritable touring machine. They provided support for Like Rats, Dopethrone, Crowskin, Bongzilla, Beehoover, and labelmates Black Shape Of Nexus, while conquering the 2019 edition of the mighty Roadburn Festival, all in one strike. Now it’s time for the next chapter.

After excessive touring on their debut album, CONFUSION MASTER again exchanged daylight for practice room jams and crafted four new tracks rooted in thundering groove, odd percussion breaks, and psychedelic swing. The Baltic Sea-based quartet once again delivers a crushing blow with forty-one minutes of raging intensity for your turntable, reminding you that the dead cannot die while they are still hungry. Recorded during the comprehensive Winter desolation of 2020, Haunted was captured by Lutz Baumann at various live sessions in multiple rooms and practice studios, after which it was mastered by James Plotkin (Khanate, Sunn O))), Pelican). Clearly not to be mistaken for a love and peace affair but channeling hardcore anger in its purity, the result is a bonafide gain in horror cosmic doom with a strong Lovecraftian existential swirl, as reflected in the stunning cover illustration by Antonio Ilievsky/Pig Hands.

Haunted will see release through Exile On Mainstream on November 19th through all digital services as well as 12” vinyl with a bundled CD. The CD features one bonus track not on the vinyl. Additionally, a special fan’s edition of the record contains an additional 12” single containing two more tracks, a patch, a sticker, and a cassette release, Live At Fusion Festival.

Watch for preorders, audio and video previews, and more on the album to be issued over the weeks ahead. Fans of Ufomammut, Electric Wizard, Yob, Goatsnake, and Black Shape Of Nexus should not miss CONFUSION MASTER.

Haunted Track Listing:
1. Viking X
2. The Cannibal County Maniac
3. Casket Down
4. Jaw On A Hook
5. Haunted (digital/CD/limited fan’s edition bonus track)
6. Under The Sign Of The Reptile Master (digital/limited fan’s edition bonus track)

CONFUSION MASTER:
Mathias Klein – bass
Stephan Gottwald – drums
Gunnar Arndt – guitars/effects
Stephan Kurth – guitars/effects/vocals

https://www.facebook.com/confusionmasterdoom
http://www.mainstreamrecords.de

Confusion Master, Haunted teaser

Tags: , , , , ,

Video Interview: Nick Hannon of Sons of Alpha Centauri & Yawning Sons

Posted in Bootleg Theater, Features on September 3rd, 2021 by JJ Koczan

sons of alpha centauri

UK four-piece Sons of Alpha Centauri are that rare band who are more comfortable outside their comfort zone. Released last week through Exile on Mainstream, their new album, Push, sees the Swale-based outfit’s to-this-point-instrumental approach cast off in favor of working with San Diego-based vocalist Jonah Matranga, whose career spans three decades in bands like Far and Onelinedrawing in the vast realm of post-hardcore and emo/indie. They also, as founding bassist Nick Hannon describes in the interview below, saw drummer Stevie B. decide to sit out the record owing to creative differences on the direction of the songs, which are weighted but indeed in more of a post-hardcore vein, certainly than the band’s 2019 Buried Memories (review here) 12″ EP/remix (which found the band collaborating with Justin Broadrick of Jesu/Godflesh) or the prior 2018 album, Continuum (review here), let alone their 2008 self-titled debut or work alongside Karma to Burn (discussed here) and Treasure Cat and their eventual collaboration with guitarist Will Mecum (R.I.P. 2021) in Alpha Cat, or their work alongside Yawning Man guitarist Gary Arce as Yawning Sons, who earlier this year issued an awaited sophomore full-length, Sky Island (review here), through Ripple Music in answer to that project’s 2009 debut, Ceremony to the Sunset (review here, reissue review here). It is, as Hannon tells it, a manifestation of another part of what makes Sons of Alpha Centauri the band they are.

Sitting in with Hannon, founding guitarist Marlon King, singly-named soundscaper Blake and Matranga is drummer Mitch Wheeler, who has been in Will Haven for the better part of 20 years and also played with The Abominable Iron Sloth. Together, sons of alpha centauri pushthis incarnation of Sons of Alpha Centauri — and it’s worth underscoring the choice to release Push under their own name in terms of how they’re thinking about it stemming from their own earliest ’90s influences — offer nine tracks of crunch riffs that still bear a hallmark atmosphere drawn from their prior work on songs like “Saturn” or maybe the lumbering closer “Own,” but are simply in another direction from what one might’ve expected them to do after Buried Memories or Continuum. I’m sure they could have and may yet produce another LP of instrumental atmospheric and exploratory heavy progressive rock, but as is noted in the conversation that follows, they don’t make it easy on themselves. Whether it’s reconstructing the band and a significant portion of their methodology for Push or the logistical nightmare of bringing in guest vocalists like Dandy BrownWendy Rae FowlerScott Reeder and Mario Lalli to perform on Yawning Sons tracks when Marlon King both can (and does!) sing on the second record, the Sons of Alpha Centauri guys don’t really seem to be into an idea if they can’t somehow make it what at very least seems like it would be a pain in their own ass.

If it needs to be said I’ll be blunt in saying it: Push isn’t really my thing. It’s not where I come from musically, I’ve never been a huge fan of Matranga‘s vocal style. I do, however, deeply admire the band’s willingness to completely throw a wrench in the gears of expectation, to be honest about their own sonic origins, and to realize those in the way they do throughout the songs. One way or the other, this was an album I wanted to talk about, and while we’re telling truths, Hannon and I have been talking for most of this year about setting up a video chat, first for Yawning Sons and then as we got closer to the announcement for the new Sons of Alpha Centauri as well. The unexpected and tragic April 29 passing of the aforementioned Will Mecum provided a third major topic of discussion, as Hannon pays homage to someone who was obviously a close friend over many years. As he tells it, Mecum gifted him with the statue that appeared on the self-titled Karma to Burn album cover. It’s true. I’ve seen a picture to prove it, and hearing Hannon talk about what that record has meant to him over time and how Mecum‘s gonna-do-what-I-want-no-matter-what attitude toward creativity has influenced Sons of Alpha Centauri gives another context in which to engage with Push and the band’s work in general, their openness to collaboration with artists they admire, and their efforts in doing what it takes to make that happen.

Long in the making, this was a good talk, and I thank Hannon for taking the time.

Please enjoy:

Sons of Alpha Centauri & Yawning Sons Interview with Nick Hannon, Aug. 26, 2021

Sons of Alpha Centauri‘s Push and Yawning SonsSky Island are both out now through Exile on Mainstream and Ripple Music, respectively. More info at the links.

Sons of Alpha Centauri, Push (2021)

Yawning Sons, Sky Island (2021)

Sons of Alpha Centauri on Facebook

Sons of Alpha Centauri on Bandcamp

Sons of Alpha Centauri website

Exile on Mainstream Records website

Yawning Sons on Facebook

Yawning Sons on Bandcamp

Yawning Sons website

Ripple Music website

Ripple Music on Bandcamp

Ripple Music on Facebook

Tags: , , , , , , , , , , , ,

Sons of Alpha Centauri to Release Push Aug. 27

Posted in Whathaveyou on June 24th, 2021 by JJ Koczan

sons of alpha centauri

Between you and me and the deepest microgenre recesses of the internet, I’ve been in a holding pattern waiting to interview Nick Hannon from Sons of Alpha Centauri for a while now, to talk about the new Yawning Sons release among other things. He’d said there was a big announcement coming, and, well, this would just about have to be it. For the always-up-to-collaborate UK outfit’s new offering, Push, they’re joined by Jonah Matrenga of Far on vocals and Mitch Wheeler of Will Haven on drums.

Some surprising new members of the band, whose post-rocking side has more recently been to the fore on their generally-instrumentalist tracks? Yes. But that’s also pretty much how Sons of Alpha Centauri operate, and if you don’t want to take my word for it, let the fact that Push is coming out on Exile on Mainstream tell you the rest of whatever you need to know.

Release date is in August, as the PR wire tells it:

sons of alpha centauri push

SONS OF ALPHA CENTAURI: Post-Hardcore Quartet Inducts Members Of Far And Will Haven For Push LP Set For Release Via Exile On Mainstream

Exile On Mainstream announces the signing of UK-based alternative/post-hardcore quartet SONS OF ALPHA CENTAURI for the August release of their third album, Push. With the album’s details and preorders, the lead single “Buried Under” has been premiered.

A radical departure from instrumental approach the band has maintained for the past twenty years, Push marks SONS OF ALPHA CENTAURI’s first collaboration with musicians from two of the biggest and most respected bands in the Sacramento music community, as the act welcomes Jonah Matranga of Far and Gratitude and Mitch Wheeler of Will Haven.

The follow-up to their previous album Continuum, SONS OF ALPHA CENTAURI’s Push is a powerhouse of searing post-hardcore, alternative metal, and progressive dreamy riff rock, with an ideology rooted in the ‘90s hardcore scene. The hypnotic pulsing riffs and the soaring emotional power of Matranga’s raw vocals provide his first heavy performance since the critically acclaimed Far reunion album At Night We Live. Push is an album that blends the instantly recognizable sonic landscape of SONS OF ALPHA CENTAURI with the emotional tone of Far and the epic backbone of Will Haven. Matranga uses his return to post-hardcore, and his subtle, almost subliminal delivery to challenge some of the core topics with a reignited fire of passion and emotional persuasion.

Push was recorded by Lance Jackman of EightFourSeven in Sacramento, engineered and mixed by Dan Lucas, and mastered by the legendary Nick Zampiello (Cave In, Converge, ISIS).

Founding bassist Nick Hannon offers, “SOAC has a split personality; this is most certainly our darker and heavier side. We grew up on ‘90s alternative rock and to harness our vision with the purveyors of the Sacramento post hardcore sound will make this a true landmark release and we have taken it to the extreme collaborating with Mitch and Jonah!”

On embracing the spirit of collaboration, Hannon continues, “We’ve always been interested in working in a collaborative manner, so despite the epidemic, we’ve continued building and expanding our spectrum of musical genres that we want to experiment with. This is an exciting phase for us and integrating the guys from Sacramento and their heritage is phenomenal. We have worked to sculpt the instrumental rock dexterity of SOAC and provided a hardcore backbone by integrating Mitch and Jonah that has breathed a whole new spirit into the vessel. It still has an element of mysticism but comes with a more direct connection to the audience.”

Exile On Mainstream will proudly release Push on all digital platforms and an LP/CD bundled package on August 27th. Find preorders HERE: https://shop.mainstreamrecords.de/product/eom98

Tracklist
1. Get The Guns
2. Listen
3. The Enemy
4. Push
5. Buried Under
6. Boys And Girls
7. Saturn
8. Dark Night
9. Own

Push lineup
Jonah Matranga – vocals
Marlon King – guitars
Nick Hannon – bass
Mitch Wheeler – drums
Stevie B – drums
Blake – effects

https://www.facebook.com/sonsofalphacentauri
https://sonsofalphacentauri.bandcamp.com/
http://www.sonsofalphacentauri.co.uk/
https://open.spotify.com/artist/5N9S58a1trUvMiavf5vwFl
http://www.mainstreamrecords.de

Tags: , , , ,

Trialogos Premiere “Hikikomori” Video From Stroh zu Gold out June 18

Posted in Bootleg Theater on May 27th, 2021 by JJ Koczan

trialogos

Actually-experimentalist three-piece Trialogos will make their full-length debut on June 18 with Stroh zu Gold. Issued as the 100th release for respected purveyor Exile on Mainstream, the project’s first offering brings together a range of seemingly disparate elements, styles and methods, propelled by the willfully-off-the-wall creativity of multi-instrumentalists Kiki BohemiaSicker Man and Conny Ochs. And while the latter’s singer-songwriter stylings might be familiar to those who’ve followed his work either as a solo artist or in his Wino & Conny Ochs duo, Trialogos departs such traditionalist structure — there’s guitars in here of various kinds, but from opener “Lavu Santu” onward, the idea is so much more about texture than strum — and the eight-song/39-minute offering varies direction on a per-track basis, ready and willing to go where a given piece might lead.

In the opener, that’s to a droning wash. In the subsequent title-track, it’s key-backed dance-groove night-vibing. In “Batdance” — sadly not a Prince cover — it’s harsh-industrial blast turned to ’80s popmaking turned to ambient noise twists. Trialogos Stroh Zu GoldAnd in “Il Terzo Sogno,” which I’m going to assume is the wrap for side A, there is some acoustic drum in a modernist-classical-feeling progression; it feels like a lifeline considering the ground Trialogos have covered. And side B mirrors the intent, with “Mali:Berlin” progressing early into a buildup of string sounds around a central rhythm before dropping to drone wash and malevolent churn in its final moments, “Rip Current” renewing the mechanized feel that the opening of “Batdance” hinted at but pushing it into willful aural drudgery, and “Wellenreiter” boasting a few Ulver-style lyrics sung over a desolate soundscape that comes to life in consuming fashion, the voices no more expected than anything by that point but no more out of place.

It is a drifting, floating presence Trialogos create, but Stroh zu Gold is satisfying in its exploration. “Wellenreiter” gives way to the immediately wistful “Hikikomori,” which presents a lonely vision for a lonely time in its arrangement of strings, guitar and effects. Its shorter run recalls the cinematic touch of “Il Terzo Sogno,” and it rises and recedes subtly into the keys and loops that finish in a fade. The band performed “Hikikomori” (among others) in March at WUK Halle/Saale in collaboration with a dance performance by Ellen Brix, and it’s from that footage — suitably manipulated and mirrored, etc. — that the video below comes. There’s also a link where you can see the original dance pieces if so inclined.

Stroh zu Gold isn’t going to be for everyone, and it isn’t meant to be, but it’s a personal expression on the part of Trialogos and resonates in a very real and emotional way for something that so readily leaves the straightforward behind. You would call it evocative for its ability to take you from one place to another.

Please enjoy:

Trialogos, “Hikikomori” official video premiere

Experimental/cinematic rock collective TRIALOGOS – formed by Conny Ochs, Sicker Man, and Kiki Bohemia – presents a new video for the track “Hikikomori,” from the trio’s impending debut LP, Stroh Zu Gold.

The album is available here: https://shop.mainstreamrecords.de/product/eom100

Hikikomori: (jap.) also known as acute social withdrawal, is total withdrawal from society and seeking extreme degrees of social isolation and confinement. Hikikomori refers to both the phenomenon in general and the recluses themselves.

The actual video footage used in the “Hikikomori” video is taken from a performance involving the dancer and choreographer Ellen Brix. In March 2021 Ellen Brix and TRIALOGOS worked together on a dance performance at WUK Halle/Saale in Germany. Brix had developed and constructed a special moving floor on which she danced, while the band supported her with music and sound. The “Hikikomori” video was filmed by Lutz Kretschmann with final editing handled by Tobias Vethake.

The actual dance video can be found here and appears courtesy of Ellen Brix: https://fb.watch/5wTP9JjsP_/

Sicker Man comments on the creation of the track, “TRIALOGOS is a project that was formed during the lockdown of the Coronavirus crisis and the character of this pandemic also defined the way we worked on this album. We were sitting secluded in our studio and improvising structures and musical elements. We interrupted the stream of sound only to eat and drink or to play cards while listening to our recordings. The music was a kind of campfire we sat around to keep us warm and sane. And as ‘Hikikomori’ was part of the session, that was recorded on our very first day; it really represents the atmosphere and process of Stroh Zu Gold.”

Conny Ochs describes the performance as a special experience: “The session at the WUK Theatre space in Halle was our first glimpse at something that came close to an actual live performance. When we were offered the chance to improvise together with Ellen, we sure said yes to the chance to gain access to such a space and play at a high volume finally after weeks of isolation. The experience was truly cathartic, both frightening in the sense of feeling that isolation still after all and facing the gaping void where an audience would supposedly be, but also healing, through simply letting the music reverberate between us, and the longing of each of us to share it. That is why we chose to release some of the material that was shot that day. Having in mind the idea that it can accompany this tune about loneliness and hope in a way that will transport our experience at WUK. That healing comes through sharing.”

Conny Ochs: Acoustic & Electric Guitars, Vocals, Bass, Drums, Percussion
Sicker Man: Acoustic & Electric Cello, Guitars, Juno 6, Moog, Lapsteel, Beats, Effects
Kiki Bohemia: Rhodes, Vocals, Bass, Dictaphone, Autoharp, Effects

Trialogos website

Trialogos on Facebook

Trialogos on Instagram

Exile on Mainstream Records website

Tags: , , , ,

Trialogos: Debut Album Stroh Zu Gold Out June 18 on Exile on Mainstream

Posted in Whathaveyou on April 15th, 2021 by JJ Koczan

I probably would have posted this yesterday, but to be honest with you I was hoping that the press release would be shortly followed by a download of the album or some streaming sample or something to hear to give some idea of what Trialogos sounds like. I didn’t see any A/V on their Facebook, and when you click the link to their website, it asks for a password I don’t have — which, if you ever wanted to know what I’m like at a party, I’m like the guy who just clicked the link to site with a password I don’t have; that’s me all the way. But anyhow, no audio there either. I gave it the extra day, but with Trialogos‘ debut at Roadburn Redux coming up on Saturday, I guess they figured that as a good time to do the unveiling. Can’t argue.

And, as I’ve said on numerous occasions, I trust the taste of Andreas Kohl from Exile on Mainstream implicitly. We don’t always align 100 percent in sound, but whatever that label is getting behind is at least going to be worth a shot. Plus Trialogos has Conny Ochs, and who doesn’t like Conny Ochs?

Goons, that’s who.

Enough yammering. Preorders are up for TrialogosStroh Zu Gold if you’re even more the dive-right-in type, and that’s ahead of a June 18 release. And while we’re here, congrats to Exile on Mainstream on the 100th release.

From the PR wire:

trialogos

TRIALOGOS: New Act Formed By Conny Ochs, Kiki Bohemia, And Sicker Man Presents Stroh Zu Gold Debut, Exile On Mainstream’s 100th Release; Band Plays Roadburn Redux This Week, Releasing A Special LP Edition

Exile On Mainstream excitedly announces the label’s 100th release, today unveiling the news and details of new experimental/cinematic rock collective, TRIALOGOS. Formed during the pandemic over the past year, the band will issue their newly completed debut LP, Stroh Zu Gold, in June. The details for the album have today been issued alongside news of the band’s participation in Roadburn Redux this week.

During the Roadburn performance, fans will be able to order a strictly limited, pre-release vinyl version of the album via a secret website that will become available as the show is streamed. Limited to 50 copies, the special edition will feature a special, manually screenprinted sleeve with different artwork and will be hand numbered.

TRIALOGOS’ exclusive Roadburn set will premiere this Saturday, April 17th 13:00 CEST and remain available on demand until April 20th at 23:59 when the Roadburn site will be taken offline. See the full schedule HERE: https://roadburn.com/

TRIALOGOS’ Stroh Zu Gold will be issued June 18th in a four-panel mini-gatefold CD, 180-gram pure virgin black vinyl LP including a download card, and digital platforms. Preorders are now available at the Exile On Mainstream’s webshop HERE: https://shop.mainstreamrecords.de/product/eom100

The performance will be streamed from the stunning location of Leipzig’s UT Connewitz, one of Germany’s oldest cinemas that was established in 1912 and home to a lot of mind-blowing performances by Exile On Mainstream-related acts before, among them the EOM20 festival in 2019. Roadburn regulars will likely be familiar with Conny Ochs, who has brought his haunting folk to the festival’s stages numerous times – both in a solo capacity and alongside collaborator Wino – and joined by Sicker Man and Kiki Bohemia, this performance promises to deliver something vastly different and equally memorable. Following Tony Conrad’s concept of maximalism in minimal music, TRIALOGOS’ widescreen Super-8 soundscapes and occasional haunted house vocals conjure up visions of winter lost beaches, bats dancing upside down, and sojourns in permanent dawn.

Conny Ochs states, “Now we have the chance to play our debut set of Stroh Zu Gold alongside so many astonishing artists and in the realm of the magnificent Roadburn Festival, that to me has always been a symbol of artistic freedom. This is a great honor to us. It feels like exactly the right place for this, a place to get together again on the playground. What a trip.”

Also taking part in Roadburn this week is Andreas Kohl. Almost becoming a regular sit-in for the fest, Kohl, Senior Manager at Optimal Media and Exile On Mainstream’s head of noise, will bring his expertise to Roadburn’s side program again this year. With hampering growth such as pressing capacities, new machinery now being widely available but still facing issues like shortage of well-trained and enthusiastic personnel vinyl records remain one of the most discussed topics in the music industry and among fans. Kohl has been holding Q&A sessions and lectures on these topics three times now at Roadburn with different focuses each time. In 2021, he will again give an insight on new technology hitting the market and the current state of manufacturing the black gold in general. The short lecture and update on the current state of things will be held as a Q&A session with fellow Jose Carlos Santos, a no less prominent face among Roadburn’s acolytes. Kohl’s talk will be live on Sunday, April 18th at 15:30 CEST.

TRIALOGOS:
Conny Ochs – acoustic/electric guitars, vocals, bass, drums, percussion
Sicker Man – acoustic/electric cello, guitars, Juno 6, Moog, lapsteel, beats, effects
Kiki Bohemia – Rhodes, vocals, bass, Dictaphone, autoharp, effects

https://www.trialogosofficial.com
https://www.facebook.com/trialogos
http://www.mainstreamrecords.de

Tags: , , , ,